Buscar:what we ll be

Dubstep, not Dubstep? Originally released in 2002, The Red EP was a bold fusion of Techno and Garage from the mind of Artwork. Drawing from his "Grain" techno project and the UKG sound he championed for years, this release laid the groundwork for what the world would soon call Dubstep — or did it? Broken beat/Bruk dons Bugz In The Attic were hammering Red in their sets, including this title on their “Fabriclive” mix CD in 2003 which shone further light on the EP, helping it soar in demand once again. “The Red EP” has never been repressed until now, with second hand copies exchanging hands for highs of £100 and lows of £40. Big Apple Records boss John Kennedy is blessing us with this repress which is a must have, even if you have the original, because now after Artwork found an unreleased gem on a DAT, we have added the find “RELIC”. It’s soooo punchy! You'll be hearing this all over the place all over again this summer. Limited edition Solid Red vinyl copies. DO NOT MISS OUT! BUY or CRY!

next instalment in our ongoing ‘Yearbook’ series – pressed in lovely-lime-green vinyl on a 3-LP set packed with 47 stellar tracks celebrating a brilliant year of pop singles. NOW – Yearbook 1976.



LP1: Kicking off in magnificent style with signature songs from legendary artists: A #2 in 1976, Queen’s ‘Somebody To Love’ is first up, followed by Electric Light Orchestra with ‘Livin’ Thing’, Fleetwood Mac with ‘Say You Love Me’, and 10cc with ‘I’m Mandy Fly Me’. Dr. Hook had a huge hit with ‘A Little Bit More’, and Chicago hit #1 with their all-time classic ballad ‘If You Leave Me Now’, while the side closes with Eric Carmen’s enduringly popular ‘All By Myself’. Flip the LP over for huge hits from the year – including 4 #1s: 14 years after making their UK chart debut, Frankie Valli & The Four Seasons enjoyed their first chart-topper with ‘December 1963 (Oh What a Night)’, whilst Leo Sayer reached #2 in the UK, and #1 in the US with ‘You Make Me Feel Like Dancing’. Pop gems follow from David Dundas, Bryan Ferry, Sailor, Smokie – and Slik, featuring a pre-Ultravox Midge Ure reached the top with ‘Forever And Ever’. Showaddywaddy celebrated their biggest hit and their first #1 with ‘Under The Moon Of Love’, and the UK won at Eurovision, with the winner ‘Save Your Kisses For Me’ by Brotherhood Of Man not only hitting the #1 spot but also becoming 1976’s biggest seller and bringing the first LP to a close.



LP2: Opening with a stellar run of pure-pop classics. Elton John celebrated his first UK #1 single, in a duet with Kiki Dee on ‘Don’t Go Breaking My Heart’, and Cliff Richard with ‘Devil Woman’, ahead of dance-floor favourites – and both #1s in ’76: Tina Charles with ‘I Love To Love’ and The Real Thing with ‘You To Me Are Everything’. More pop nuggets follow from Billy Ocean and Dana, before the side finishes with R&J Stone with ‘We Do It’ and the sublime ‘Midnight Train To Georgia’ from Gladys Knight & The Pips. Over on the second side, ‘Silly Love Songs’ gave Wings a UK #2 and became ‘76’s biggest seller in the US and opens a run of great vocalists; Neil Diamond, Daryl Hall & John Oates with ‘She’s Gone’, Paul Simon’s ’50 Ways To Leave Your Lover’ and a trio of the year’s classic rock smashes: ‘The Boys Are Back In Town’ from Thin Lizzy, ‘Squeeze Box’ from The Who, and closing with the epic ‘Music’ from John Miles.



LP3: Celebrating ‘76’s dancefloor with a stunning collection of disco and soul gold: First up, Donna Summer with her debut smash ‘Love To Love You Baby’ before ‘More More More’ from Andrea True Connection and Candi Staton’s timeless ‘Young Hearts Run Free’. Melba Moore with ‘This Is It’ comes ahead of Diana Ross with the genre-defining ‘Love Hangover’, and the side is completed with huge floor-fillers from Tavares and Barry White ahead of The Isley Brothers with the soul standard ‘Harvest For The World’ and over on the final side country music is represented with Dolly Parton making her UK singles chart debut with ‘Jolene’ three years after it was a hit in the US, but it was a Dutch band, Pussycat, who hit the top with their country-pop track ‘Mississippi’. Bonnie Tyler made her chart debut with ‘Lost In France’, and ‘Forever And Ever’ gave Demis Roussos a ’76 chart topper, and an easy-listening classic, whilst Guys N Dolls had a second Top 5 hit with their cover of ‘You Don’t Have To Say You Love Me’. The LP ends with a trio of the year’s most beautiful ballads: Gallagher And Lyle with ‘Heart On My Sleeve’, ‘Love And Affection’ the stunning singles chart debut for Joan Armatrading, and finishing with a second peerless single on this collection from Elton John with ‘Sorry Seems To Be The Hardest Word’.



NOW – Yearbook 1976 – a celebration of the diversity and wonderful creativity of a truly fabulous year in pop.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

"Anti Todo" is Eskorbuto's most celebrated album, recorded in the shortest time imaginable and released in 1985. It shows what the Spanish punk band did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. A new remastering for this edition has given the album the richer, more vibrant sound it always deserved. We can once again enjoy the urgency, simplicity, and rage of this refreshed "Anti Todo", a true classic recorded at Eskorbuto's peak of their creativity and energy. It includes a large poster and insert with notes. DESCRIPTION 1985 was a landmark year for punk rock in the Basque country, and possibly for the whole of Spain. Punk merged with the Basque Radical Rock (Rock Radikal Vasco or RRV) movement, although this was not necessarily always the case. For instance, Eskorbuto invariably kept their distance from the movement and everything related to it. Hardship was part and parcel of Eskorbuto's life and musical career. All their albums were recorded in the shortest time imaginable, partly due to tight budgets (studios were expensive, labels were close-fisted), and partly because Josu and Jualma needed to spend the money on other things_ When it came to recording "Anti Todo", Eskorbuto stuck to what they did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. It was their best record and we have to ask: what would Eskorbuto have been capable of if they had more time, a bigger budget, and tighter control? The song 'Tamara' was practically composed on the spot in the studio in less than two recording days, as was much of 'Ha llegado el momento'. The experienced sound technician did an outstanding job, but a new remastering for this rerelease has given the album the richer, more vibrant sound it always deserved. We can once again enjoy the urgency, simplicity, and rage of this refreshed "Anti Todo", a true classic in our musical history, originally released in 1985 at Eskorbuto's peak of their creativity and energy. This edition of the album includes a large poster and insert with notes.

While some guys will tell you now it’s all computers, at Turbo we know in our hearts that everything in life can be understood as a funhouse mirror. Sascha Funke’s massive 2017 hit “MZ” is one of the most iconic house records ever released on our label, and thus deserving of the ultimate honour: a remix pack reflecting each of the manifold facets of a modern dancefloor classic from the most prestigious and respected angles imaginable.

As studious Turbo watchers have no doubt clocked*, we have paid access to the halls of European power, where you get to make backroom deals with Emmanuel Macron and British Seinfeld as Opus’ “Live is Life” blares over a gigantic bluetooth speaker. And, yeah, you’ll probably run into the most celebrated European producers of our time. Pional, Axel Boman, Mano Le Tough, and Roman Flügel — these are the kinds of names you only see once you’ve reached the highest levels of success, be it in dance music production or purchasing the hottest tickets in town on your favorite mobile device. We called each on these titans to anoint “MZ” into the modern pantheon of club anthems, and you can bet your last eurobond that they delivered. But we also wanted some new blood, so we turned to rising Lithuanian superstar DJ JM. JM is now a deep part of the Turbo family, and he’s made the theoretical space between bad-boy cousin and beloved nephew fully his own with what we hope Rolling Stone Magazine will call “a distinctively modern edge."

*Clocking is a cool way of noticing things. Try it sometime!

After the first, extremely successful "Motor City Days Vol.1" release from 2002/04 with all those then-and-now enduring tracks by Jeff Mills, Tronic Pulse, Drivetrain and St. Andy, the "Motor City Days Vol.2" follow-up comes along now as another ambitious showcase of the continous work of that other electronic music axis Detroit-Cologne in full effect!

The extra limited MLP-Vinyl offers 6 more, typical Planet Detroit tracks on the cutting edge of Techno, House, and Electro by Teknobrat (Bunkerbliss, Ottawa), Claus Bachor (remixed by the D's own Lockstep, Soire Rec. Int.), Ferndale Parking Attendants (House Gallery Detroit), Thomas Barnett (Visillusion Rec.), Eno Justin (BangTech 12/ DTM), and Jason Garcia (Cryovac Rec. / House Gallery).
They all pay attention to the innovations that have come before them. And this is where some experiments in the Motor City's E-Funk fusion show a high fondness for the past while sacrificing none of the production tricks of the modern day. Brimming with full spirit and box-energy.

Finally, this is one of those records that when you hear the DJ play it, you'll leave your drink behind and run out to the dancefloor. While all these trainspotters ran up to ask what was playing? So "Motor City Days Vol. 2" is definitely on fire!

This is a highly limited pressing, please order your desired quantity and we’ll see what we can supply.

We are pleased to be back with the talented Groof, the experienced producer from Madrid’s legendary electronic music scene, who is responsible for our eighth release and his debut on Kontralamakina.

We welcome you to “Simulation.” This EP/LP consists of a collection of 5 tracks that explore repetition and dynamism, with structures generated by various noise sources and algorithmic sequencing with a raw and forceful sound. It consists of excellently stomping techno rawness exercises.

Plus 1 remix by the techno legend Oscar Mulero Remix; Outstanding mind bending tools, Expertly careful Drone treatments, Stunning, deep, atmospheric but energetic Techno voyage.

Unlike the main Magic Wand label, the imprint's offshoot 'Special Editions' series is a little more fluid about what it releases, with some EPs sporting original productions - many of which are admittedly sample-heavy - as well as re-edits. That's the case for this second missive from Matsoaka (real name Matt Lundgren). So, while the EP begins with a genuinely gorgeous and Balearic original cut (the dreamy and slow-motion folk-rock of 'Butterflies', featuring the emotive and harmonic vocals of Butterflies), much of the rest falls into the "Balearic re-arrangement" category. In this camp you'll find the immersive, trip-hop style dreaminess of 'Faith', the mid-80s Yellow Magic Orchestra-style Fairlight-sporting electro of 'Gin Yuzu', and the dollar bin brilliance of 'Sheriff' (a take on a Japanese city-pop cover of a reggae favourite).

DJ support from - Hector Romero, Marco Lys, Mousse T, Sam Divine, Vintage Culture, Ferreck Dawn, Mat.Joe, Claptone, Joseph Capriati, Claude VonStoke, Dennis Cruz, Huxley, Mark Knight, Format:B, Nic Fanciulli.

Riva Starr presents his fifth album 'Keep Me On The Dancefloor' on Snatch! Records.
An opportunity to demonstrate his growth as a producer and as an artist, the album showcases an unexpected Riva Starr sound – one that explores a fresh creative approach, focussing on songwriting, collaboration, and telling stories that are firmly rooted on the dancefloor.

Featuring collaborations with Chromeo, Flight Facilities, Harry Stone and more.
'The album was entirely crafted through writing sessions with talented musicians, writers, and singers. This approach brings something unique, as being in the room with other creatives adds an extra layer of creativity and depth, enhancing the production quality. Most of the tracks came together quickly, thanks to the incredible vibe and chemistry in the studio. Sometimes, the process needed a bit of back and forth and more than one session to perfect.' – Riva Starr

Fusing sounds that represent different eras of Riva’s career, 'Keep Me On The Dancefloor' wistfully and effortlessly glides between disco, funk, soul, filtered house, and even the guitar licks of classic rock; a sum of his career to date, it is a body of work that focusses on amplifying the positive moments, memories, and experiences that can only be found in music. Exploring what it means to connect with someone in the moment; a celebration of losing your inhibitions to the music and finding yourself completely in sync with someone you’ve only just met.

Charged with storytelling and heartfelt lyrics, his most personal work to date is the result of a considered approach to making music, one of collaboration with one foot still on the dancefloor, and the other firmly in the studio guiding an array of talent to build something unique with him. Moving away from the DJ-friendly cuts that have underpinned much of Starr’s career, the fifteen tracks on 'Keep Me On The Dancefloor' are much deeper. With singer Harry Stone providing catchy toplines and infectious vocals across at least half of the album, there is a clear maturity on display at every level.

Additional features come from electro-funk duo Chromeo on the irresistibly groovy 'I Was Lost', and Prince-esque vocals from Nic Hanson on '(I’ll Be Your) Paradise'. 'Know You Love Me' – the laid-back, sun-kissed cut with Flight Facilities – compliments the melancholy vocals of Biishop on “Wildfire” and the disco-infused 'It Feels Much Better' with Harry Stone.

Music is a tonic for the soul, but it feels much better with someone else.

Jens Brachvogel & Tilo Ciesla aka Studio 54, aka Dole & Kom is probably the most productive producer duo of German underground House Music. They did Disco House with heavy 808 & 909 beats in the mid 90s already – long before it stormed the German dance charts. They've remixed legends like Green Velvet, Black Box or Mateo & Matos or even pope heroes like Marc Almond. Their tunes came out on top tier labels like Nervous, Relief Records, Force Tracks and of course local Formaldehyd and BCC Music from Berlin.
Their Studio 54 project started in 1997 and quickly became their most popular moniker.
Due to copyright restrictions they had to rename it „Studio 45“, a name they're still using today. On their „Vol. 2“ record in 1997 they were inspired by Disco and Boogie tunes of the 70s and early 80s that indeed were popular at the famous New York night club.
What makes their tunes unique to this day is their hypnotizing, druggy approach to the original tunes. You never get a cheap, commercial copy, you'll get a mesmerizing mind trip back to the glory days of Disco, seasoned with the best classic drum machines got in them.

Respected Swedish drummer and composer Dennis Egberth introduces new sextet in his first album with 577 Records.


"If you love the era in which electronic elements began to enter contemporary jazz, you’ll love what Sweden’s Dennis Egberth has been creating. The esteemed drummer/composer introduces us to his hand-chosen ensemble, The Dennis Egberth Dynasty, in the artist’s first album with 577 Records. The self-titled release highlights his creativity, painting a hypnotic soundscape that soothes the soul.

Experimental wizard Dennis Egberth is known for his distinguished approach to experimental music, free improv, and alternative pop, as well as his fascinating skills in blending cosmic composition and chilled ambient and electronic sounds. He presents floating melodies of irresistible bass lines and long, modal buildups that come alive with exploding lyricism. His new record highlights his compositional roots and was inspired by the evolution of electronics in this genre during the late ‘60s and ‘70s.

Egberth fused his talents with those of Fredrik Ljungkvist on tenor sax and clarinet, Niklas Barnö on trumpet, Alexander Zethson on Wurlitzer, Linus Hillborg on electronics, and double bassist Joe Williamson, forming an unforgettable sextet. Together, they’re more like a thriving ecosystem than anything else. Each member brings critical elements from their dynamic roles in the Swedish and European creative music scene and contributes them to the manifestation of a higher wave of sound unlike any other."

Tenor saxaphone and clarinet by Fredrik Ljungkvist.
Trumpet by Niklas Barnö.
Wurlitzer by Alex Zethson.
Electronics by Linus Hillborg.
Double bass by Joe Williamson.
Drums by Dennis Egberth.

Recorded by Niclas Lindström on December 14, 2023 at Atlantis Studio, Stockholm, Sweden.
Mixed by Anders af Klintberg.
Mastering by Kristofer Göransson.
Cover painting by MiHee Kim Magee.
Graphic design by Mark Smith.
All music by Dennis Egberth.

This record was made with support from the Swedish Arts Council.

Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping "Deathrow Tull." Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the "cyber") with the lo-fi, D.I.Y. underground (the "punk"), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through its Golden Era, then melted into further forms: it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better. What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on. On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a different timeline, the survivors of armed audio warfare. Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction's top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping's co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it'll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting "Change the Channel": Everything is very important!

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

Anyone with a passing interest in footwork and juke will know of Traxman. Corky Strong has a long history of deep involvement in Chicago house, first releasing on the legendary Dance Mania label in the mid nineties, and since then splitting his productions between ghetto house, juke and footwork, releasing alongside Steve Poindexter and Fast Eddie and the late DJ Deeon and DJ Rashad, including an seemingly endless supply of self-released juke edits of whatever direction his deep knowledge of Black American music takes him. The third volume of 'Da Mind Of Traxman' is his first since 2014. In the intervening years he's kept things rolling, DJing regularly, releasing lots of music, becoming a grandfather and being a mentor for younger artists coming up in the scene.

This new album was crafted with the help of fellow Planet Mu artist Sinjin Hawke, who took on A&R duties to collate the best from hundreds of tracks dating back to 2005. Sinjin holds Traxman's status in high regard; "This album series is important and holds real documentarian value—working on it feels like the modern equivalent of curating a piece of Miles Davis’s catalog in the '60s and '70s." Volume 3 showcases Traxman's uncanny ability to take old music into the future without losing the feeling and energy of his samples and influences. He knows how to add a hi-definition modern chassis with the skill of someone who deeply and intuitively understands the craft of dance music. These are some of the purest, most innovative ideations of Chicago footwork.

a A1 Kill Da DJ (ft. Bobby Skillz & Sinjin Hawke) explicit


[d] A4 Where They At (ft. DJ Twan) [explicit]

[f] A6 I’ll Write The Hook [explicit]


[i] B1 Trust Me [explicit]



[m] B5 Talaban [explicit]

Gospel melts into Soul in this dazzling collection of sides originally released by the Chess subsidiary.


Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel — thumping bass and pounding drums, bluesy guitar and horns — and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Not forgetting its sheer, startling, richly diverse soulfulness.

Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house… Morris Jennings, drummer on Curtis’ Superfly and Terry Callier’s What Color Is Love… Louis Satterfield from The Pharaohs and Earth Wind & Fire… Ramsey Lewis’ guitarist Byron Gregory… Phil Upchurch… Laura Lee…

Producer Monk Higgins joined Checker in 1967, bringing his experience of R&B and Gospel hit-making for the labels One-derful and Satellite, together with a loyal cohort of musicians. A protege of Willie Dixon, engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. ‘I’m using horns and an R&B sound in gospel recordings,’ said Bass. ‘We have no charts. All the musicians are given the chord changes. I want the cats to think when we’re cutting. I want spontaneity, and that’s what we’re getting.’ And: ‘There is more to gospel than just finding solace in the church. This follows the same message of Martin King, who was fighting for a new way of life. Kids are tired of hearing Jesus Give Us Help. They want a positive message.’

Focussed on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires’ Groovin’ With Jesus, working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle’s title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks’ achingly timely choral call-to-arms, Stand Up America, Don’t Be Afraid; the East St Louis Gospelettes’ heart-stopping, fathoms-deep rendition of Bobby Bland’s I’ll Take Care Of You.
A beautiful gatefold sleeve; a full-colour booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill.

A shoo-in for soul compilation of the year.

We're back with another heavy release for the soundsystems.

This time we welcome Boomarm Nations own Gulls to the label.
Hailing from his dojo in Portland, Oregon, Gulls delivers us a
meditative dub hybrid, combining elements of dub, hip hop and contemporary electronica. The tune is called ''So Blessed'' and is topped by the fine voice of Wayne Daniel outta Kingston, Jamaica.

''So Blessed'' got exactly the vibe you'll need in this challenging time. Keep your head up, feel gifted for what you've got and give something back to the people around you. This tune's backing you up.

If that wasn't enough, the Portland rapper Madgesdiq steps pon the mic for some blazin' bars in his signature conscious style.

Get lost in this wicked production while heading right into the dub version to exceed the border between music and meditation.

To feel the sound through your body and soul, LXC lifted the frequencies again.

On their debut EP 'Trainwrecks at the Seaside', Gos Rosling delves deeper into harsh and ironic songwriting. These songs showcase everyday joy, the cruel pain life throws at you once in a while and the irony of being good to the people around you.

With their singles 'Caroline (I should've known better)' and 'Somehow/Somewhere', Gos Rosling managed to show people that feeling blue but wanting to jump from excitement are emotions that are not contradictory at all, they go hand in hand.

'Trainwrecks at the Seaside' throws you around the room with upbeat indie bangers like 'Caroline (i should've known better)' and songs like '(Not) A Slow Song' that will get you to your knees, making sure you'll feel what you need to feel.

Produced and recorded by Koenraad Foesters (Jupiter Studios), this EP combines UK upbeat indie nuances with melancholic and 'to the bone' lyrics. Gos Rosling delves deep into that sound, tearing their hearts open and treating you with a real emotional rollercoaster.

Danny Blackburn has mastered their EP at The Nave (Leeds, UK) who also worked with Snarky Puppy, Bill Laurence, Adult DVD and many more.

Catchy indie pop for fans of Bombay Bicycle Club and Two Door Cinema Club.

RARE & PREV. UNRELEASED PSYCH-FUNK AND GARAGE ROCK !!!

Say hello to Down & Wired Vol. 7 as Perfect Toy Records unleashes yet another instalment in its long-running compilation series! Once more, the label provides a delectable selection of obscure funk and soul-influenced psychedelic and garage rock tracks to delight even hardcore collectors of both genres.

And make no mistake, there is plenty to discover among these eleven tracks. At the funkiest end of things, Function's Free Style morphs from West Coast psychedelia to country funk to swamp rock and back again in its sub-three minute length, Dandy King provide psychedelic funky-soul and The Whiz Kids take a heavy dose of funkiness with them into psych-rock territory – sample fiends watch out for the fat twenty-second drum break towards the end of the latter! Purer psychedelia can be found in the offering from Third Stone while Würzburg band Prisma provide all-out epic psych-rock carnage. And if rock carnage is your thing, you'll be feeling the dirty garage rock onslaught of The Comin' Generation and a previously unreleased cut by Synod - soon to be a 45 single on Perfect Toy. That just leaves The General Store, The Soul Society, The Vestells and another unreleased cut from The Villagers (from whom the label will be dropping more unreleased material soon!), to close the circle by adding a heavy dose of garage soul.

A worthy successor to the previous volumes, Down & Wired Vol. 7 is once again accompanied by an insert containing detailed information and photos of the bands and a download code is also included with every vinyl LP.

These tracks were taken from the album ‘Head’s Above Water’. Over the last one and half years, we have been on a journey to record this album. A journey that has enabled us to discover more about ourselves, our surroundings, our desires, and our fears. We are thankful to be able to share this and we hope you’ll enjoy this music we’ve worked hard to create. - David & Frank

“Wild Boy …” is a reissue of the well-known 2016 release curated by Brian Chidester, renowned researcher and biographer of Eden Ahbez. Especially for this album, Brian wrote an interesting text about Abi’s life, which definitely became the decoration of the release.
With the new 2020 re-release, we went a little further and kept what is commonly referred to as studio cuts. It’s a few more minutes in the studio with ahbez himself, full of emotion and life. In addition, to the delight of fans, the edition includes an additional composition Nature Boy (Mantovani Orchestra).
Especially, it is worth noting the outstanding mastering prepared from practically decomposed tapes by the Grammy-nominated Jessica Thompson, which guarantees the deepest and warmth possible sound. Jessica a huge ahbez fan and we’re highly appreciated for what she has done to save his music for the future.
Eden Ahbez is definitely at the origin of psychedelic music and this release can be taken as further proof. Over the past twenty years, the iconic figure of the world’s first hippie Eden ahbez has become famous primarily for his 1948 song “Nature Boy”, praising universal love, and his amazingly solo album from the 1960s called “Eden’s Island” – one from the first concept albums in the history of music and probably the first psychedelic music album. “Wild Boy: The Lost Songs Of Eden Ahbez” deepens understanding of the origins of the psychedelic movement in the 1950s.
The disc contains a musical selection of works by Eden ahbez himself, written by him in the period after Nature Boy. The inclusion of songs such as “Palm Springs” – Ray Anthony Orchestra and “Hey Jacques” by Erta Kitt gives the listener the chance to discover for the first time the little-known recordings of world-famous artists composed by Eden ahbez. Through “Wild Boy” and “Surfer John” you can hear the author’s handling of absurd rock and exotic experimentation, as well as sweet psychedelic pop like Monterey (with Paul Horn on flute). Overall, Wild Boy: The Lost Songs Of Eden Ahbez offers an overview of the lost works of 1949-1971 with seven unpublished recordings and eight rare singles.
If in 2020 you are missing the hallucinogenic content in Eden Ahbez, it amazingly makes up for that deficiency with simple chords, expansive arrangements, and lyrics about travel, relaxation, free love, and spirituality. Thus creating the standard of psychedelic music. Eden Ahbez’s songs weren’t only fantasy and his personal philosophy was the real thing that he lived.

reviews:

“This carefully and extensively researched compilation culls covers by top notch mainstream artists juxtaposed with unreleased Eden recordings. What might sound like a mixed bag is actually more like a chronological, musical non-fiction novel about Eden Ahbez. While Eden was writing hundreds of songs and performing live and making recordings in various styles, his songs were also being picked up by popular artists like Nat King Cole and Eartha Kitt who recorded with a more polished mainstream style. There are also some early rock n roll style recordings here. Eden’s professionally recordings often end up as Novelty Pop records such as “Child of Nature” and “The Clam Man” but if you read between the lines and listen to the lyrics it is pretty eye-opening that he is singing about Eastern-religion-style and pre-hippie philosophies about being at one with the planet Earth.
All of this is explained in the lengthy liner notes inside the lp along with a few choice photos that establish Eden as a founding father of Southern California mystic/psychedelic music.” – Tiki_News
“Eden Ahbez’s life philosophy was summed up in the lyrics of his most famous song, “Nature Boy,” a 1948 hit for Nat King Cole: the song describes a “strange enchanted boy” who wanders the world in search of truth. “The greatest thing you’ll ever learn,” he concludes, “is to love and be loved in return.” Ahbez was a pre-cursor of California’s beatniks and hippies, and an exalted icon of ex-otica via his rare 1960 album Eden’s Island. Beyond “Nature Boy” and Eden’s Island, though, there were nu-merous lesser-known Ahbez record-ings. Ahbez biographer Brian Chidester has been doing an exemplary job of archiving and documenting that catalog of work. The Exotic World of Eden Ahbez (reviewed in UT#38) appeared a few years ago, gathering together 14 Ahbez-related rarities” – Ugly Things

Sometimes, we have the tendency to run away from distress because we do not want to deal with the feeling of pain, but the first step in spiritual healing is overcoming the fears and recognizing the pain. The sooner you address the cause of your difficulty, the sooner you’ll get freedom from the pain. Be aware of your situation.
Once you have faced the source of anxiety, you need to acknowledge the pain. Feel your emotions and question what their sources are. Be honest about your feelings. In this stage, it is normal to feel like situations are beyond your control, which can transfer the feeling of hopelessness. However, by allowing yourself to feel rage, it becomes easier for your wounds to heal. Honor your feelings.
Honoring your pain will teach you self-forgiveness. You should be able to feel the kindness within you and experience all the love you have for yourself. You will feel a conflict between the instinct to heal on your own, and the desire to accept the situation and seek support to get healed. You prove that you have an unwavering determination to get healed by choosing the latter. When you want spiritual healing, you have to place your faith in the universe, too.
Surrendering the pain means releasing the pain and seeking support from the universe. It will help you ease your sufferings.
The negative ego vanishes from within you and makes your heart feel lighter once you release your pain. This is a sign of spiritual wellness. You will start to feel a deep openness towards things and think with a peaceful mind. You will become whole again and you will develop the ability to deal with the disruptions of your life with tolerance. The inner peace will be restored. Feal.

Benny Howell (aka DJ Subaru) is a UK based producer, DJ and overall promoter of good times who's undoubtedly propelling a new generation of music appreciation with an honourable respect for the earlier beginnings of club culture. Benny Howell might also be the pioneer of a new post-Brexit Eurodance genre, with "Surrender", a catchy Pop oriented production with strong influences from Italodisco and HiNRG, written and produced entirely from scratch with best friend Bella Quirin who co-wrote the lyrics after a break up with her ex. Innocent and charming lyrics over 120's BPM drum machine and a simple melody that you'll be humming in the back of your mind for days to come. Equipped with a Yamaha TX81Z, a few guitar pedals and a makeshift bedroom studio, "Surrender" is the product of a dear friendship between the two music lovers, as per Benny's recount: "Bella came and sung on the track in my bedroom during one of the gaps between Covid lockdowns after I asked her at the pub if she knew any singers and said me of course, and we went from just friends to best friends."
The remix on the B-side by Castro takes a darker turn into what almost sounds like a Techno version with heavy dubbed out effects taking the "Surrender" theme through an unhinged Ketamine flanger vortex. Full cover artwork and mastered at Manmade mastering in Berlin.

Recorded on the edge of Berlin in a semi-deserted building complex formerly used by the East German Sociality party, André Uhl's debut on the label taps into the spectral frequencies of the space and the ritual practices of recording.

Created in isolation amongst this decaying structure and surrounded by lakes, dense forestry and the sounds of boars and unknown wildlife outside, Every Step Causes a Crack is a title that reflects Andrés connection to the environment around him and the death or glory stance of the artist, with field recordings, electric doom synthesis and lurching drum tracks temporarily fracturing the darkness before being pulled back through the void.

Limited vinyl release of 150 copies.

Repress!

Next up on Toolroom’s 4-track vinyl sampler series is a tasty collab from label founder, Mark Knight who teams up with rapidly rising talent Crusy for a staunch collaboration ‘Daddy Shhh’. A fiery club heavy cut, focusing on Toolroom’s founder’s speciality of Tribal Tech House, ‘Daddy Shhh’ is a record made for the dance floor specifically. Mixing high energy grooves, Latin percussion and rolling tech bass line that’ll keep you moving until the early hours.

Next up, we’re welcoming UK selector and producer Huxley who drops brand new single, ‘All I Need’. An artist not bound by conventional genres, Huxley’s sound shifts and melds into whatever fits the record, and that is certainly true when listening to ‘All I Need’. Coming through with a lush, Deep House synth vibe and an earworm vocal that melts into the mix before launching into Classic UK House style bass stabs means only one thing, a straight up belter.

Up next is another heater from Liverpudlian DJ and producer ESSEL who returns to the label with ‘Lennon’. An artist well versed in the art of hit-making; ESSEL has been a firm fixture of the Toolroom family over the past few years. A darker take on her typical vibe, ‘Lennon’ is a record that skirts the edge of her sound, tipping over into clubland and we have to say, it’s absolutely class. If there’s ever a glass ceiling above then ESSEL is sure to smash straight through it, she certainly is an exciting new prospect and without doubt one to watch.

Last but not least, we see the return of powerhouse DJ and production duo Leftwing : Kody who team up with fast-rising producer James Hurr on their debut outing ‘Music Is the Medication’. Reggae vocalist I Jah also features, bringing some Ragga styled heat to the record. ‘Music Is The Medication’ is a sublime record, mixing a tough, Tech House focused vibe with UKG styled breaks and a straight to the point Ragga vocal overlayed for maximum delivery means only one thing, a certified banger.

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

Standard version on 2LP black vinyl in gatefold sleeve. ‘Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent.



'Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent coming out one of the smallest countries in Europe. Never change a winning team they say, so we're happy to have Belgian DJ and eclectic connoisseur Lefto on board again.

Although you expect thecompilation to be talking jazz, volume 3 explores a broader array of styles, genres, and sounds than ever before, arriving at a point where the 'young cats' of today don't bother no more. It may focus on the Belgian scene, but let's face it, seeing the influences, this one could be compiled from all over the world. From the empowering and bittersweet voices of Oriana Ikomo and Adja, over the more acoustic-electronic productions of Moodprint, Ciao Kennedy, Kassius and echofarmer. It's even expanding the Jazz Cats universe to dub and bass-heavy tracks with Kin Gajo and Le Ministère, Ethio-jazz from Azmari, while sending you back to earth with bodies' swirling sax and drums. That saxophone still rings in your ears when you end up in the orbit of the march-like drums of Bodem, Orson Claeys' piano testing your ability to follow him, slamming the breaks to go smooth cruisin' with HONEY (Morricone meets Khruangbin, anyone?), to crashing in a raging tempo on that last track of Bruno x Soet x Moene. And there you are, back with us.



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters, including Black Flower, STUFF. De Beren Gieren and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews. The 2022 follow-up 'Jazz Cats volume 2' paved the way for a new generation inspired by its peers, entering another era of very talented individuals and collectives. Maybe even more so than 4 years before. It uncovered a beautiful balance of more established but also obscure musicians and artists. Opening up to electronics and dance, enter bands like ECHT!, Stellar Legions and TUKAN. Thrilling innovative soundscape grooves and jazz fusion with Bandler Ching and L?p?GangGang, not to forget about the weaving musical odyssey that is M.CHUZI. In addition, there's the balanced unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and cinematic The Brums, all of these have set volume 2 on the map as an essential release for any jazzhead with a passion for new sounds.

Tastemaker, selector, curator, DJ and producer, these words often get mentioned when Lefto's name pops up in discussions. And rightly so. If you've ever had the pleasure to listen to one of his incredible Boiler Room sets or one of his many radio shows, you'll know why. Famed for his gloriously eclectic taste on the decks, he switches effortlessly between hip hop, funk, breaks, neck-snapping beats, future bass, South-American influences, bruk riddims, some wild African rhythms and of course, jazz.

Growing up as a child, his father would have the sounds of jazz flowing through the speakers. Which led him to bars around town to hear the latest jazz ensembles. Falling in love with the genre, he would later refine his knack for record digging and fine ear for music working at Belgium's legendary Music Mania record store in his hometown Brussels. Which makes that Lefto is consistently a couple steps ahead. He doesn't wait for the next thing to land in his lap, but actively seeking it out.

Lefto on Jazz Cats volume 3:
"Another release in less than two years! I am very impressed by the amount of creative "jazz" talent we've managed to compile over the last couple of years. Thanks to the internet, young musicians find inspiration from around the globe and incorporate diverse influences into their work. Given the history and heritage of jazz in this country, it has managed to create a healthy jazz scene supported by festivals, venues, press, and labels. Therefore, I am very proud to present to you the thirdinstallment of Jazz Cats. This compilation is dedicated to the young and hardworking musicians who are the present and the future of Belgium's jazz scene."

In spring,
Again.
But it's true this time.

In Spring is the second record by Tara Clerkin Trio, a Bristol-based group who appeared to emerge from below the radar of near-all in early 2020 and in the presence of one of the most captivating records of that year. This latest 23 minute, four song collection, recorded in various stages and locations over the last twelve months, does nothing to detract from those first impressions, refining the woozy and shimmering oddness of their debut into an avant-pop sensibility that is increasingly their own.

If the group did arrive fully formed, what that form was did feel supple and hard to grasp. They were, in a sense, essentially new sounding, or at least ghosts between the established lines, and with this new record have doubled-down on their inherently Delphian instinct. At its heart, In Spring is a record of subtle contrasts, experimental yet familiar in its intimacy, obviously modern though tied to certain lineages, and driven by a pop logic which is also free-form and seemingly improvised. Their approach to sound is perhaps the guiding principle here, less concerned with genre as it is texture and feeling, drawing from jazz, folk, modern composition, trip hop and downtempo electronica, yet evading all of those categorisations. Tara Clerkin Trio are too generous of heart to be ripping up any rulebook, they simply seem oblivious to its need.

Their geography does provide some context. Bristol's progressive sonic heritage inescapably bleeds into these four tracks, the enclave of open-minded artists around Planet Records in the mid 90s perhaps the closest point of comparison. There's that same magpie spirit which is both futuregazing and aware of its past, though is mostly set on finding its own path. This is in essence what defines Tara Clerkin Trio, feeling their way through freedom of instinct and curiosity, forging their own desire lines. Not so much taking the road less trodden, just walked at their own winding pace.

"Done before,
And I'll do it again"
Ringing in my head
While I try
To feel

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

New edits label from the Deep&Disco crew outta NYC. 2 Killer cuts given a revamp and shine for the dancefloor.

Pressed on heavy weight 180g vinyl limited to 300 pressings hand stamped.
DJ FEEDBACK

Craig Smith (6th Borough Project) - Lovely edits, well produced and expertly put together. Good luck with the label chaps

Guy (Sleazy Beats, Monsieur Monod) - What a delightful debut for your new label. Feel The Rhythm is an irresistable boogie groover. We'll be playing these puppies all over the place! All the best with the release and label.

aliOOFT (OOFT! Music) - Being playing this for ages, good to see it being released. Best of luck with the label - I look forward to more Razor N Tape jams!

Sleazy McQueen (Whisky Disco) - Dig it, man!

Onur Engin (OE Edits) - Nice one! I'll definitely support this.

Jimpster (Freerange) - Nicely done. always a good one to have in the bag. cheers for the good edits.

Trujillo (Apersonal Music) - So Tight is a dope warm disco for the dance floor!, will spin it!

The Glue (Kolour) - Great edits both of them, we will keep an eye out for more stuff from you guys for sure!

Leftside Wobble (Futureboogie) - A pair of filtered boogie beauties.

Alkalino (Much Love) - Like both, but "Feel the Rhythm" is my fav.cheers!

Matthew Bandy (Z Records) - Solid edits here, will be getting support on both from me. Cheers.

Sell by Dave (Bedmo Disco, Juno Plus) - Excellent first release lads - enjoying both tracks. The edits scene needs some fresh cuts/styles, and you've delivered on these. Major props - can see both getting plenty of plays in Bedmo Disco sets this summer x

Daz (Get Down Edits) - So Tight never fails but this is my first time hearing Feel The Rhythm & cant wait to play it out its sounds excellent, have a gig @ Disco Deviance this sat & cant wait to play these at it :)

Mike W (Kolour Recordings) - Been looking forward to RNT001 and it does not disappoint one bit! edits that drip with funk & soul .. just like they should. got a nice batch of gigs in the pipes and these will definitely be seeing their way into my rotation as well as the full gambit of chart support! cheers j. kriv & aaron dae .. got yourselves off to a nice & tidy start .. best of returns to ya!

Nelue (Groove Democracy) - Both sound great!

South West Seven (SWS Music) - Love it!

Kid Color (Dollar Disco) - Slammin' work if I could say so myself!

The Beat Broker (Flexx) - So Tight is exactly that. Killer unstoppable groove. Love it!

‘Threads’ was my 1st album as Om Unit and this 10-year re-mastered anniversary edition comes around at what feels like a similar time for me of experimentation and finding new ways to connect sounds. Something of a full circle of sorts but then again I am marking time with this re-issue at a time where I can look back and feel very proud of the work still sounding so convincing. Now even better thanks to Subvert Central’s Robert Macchiochi!

Reflecting on the past 10 years since this record came out, I can say it’s been an incredibly fruitful journey, with the most striking element of it all being the opportunity to travel and meet so many people from so many different backgrounds with different world views and stories. I found that ‘Threads’ for many was their first insight into my music, and for some people was something of a milestone in their journey of exploring music itself with tracks like ‘The silence’ and ‘Governor’s Bay’ having been mentioned over the years as amongst favourites alongside some of the work released on Cosmic Bridge and Civil

I want to take a moment to give my Love and gratitude to all the featured vocalists. Thanks to Simon Jinadu for his angelic voice on ‘The Silence’, to Charlie Dark MBE for his reflective words on ‘The Road’ and to Alex ‘Bogues’ Rendall aka MC Jabu (of Jabu) for his intense delivery on ‘Patients’ as well as Jneiro Jarel for his self-reflective narration on “just sayin’” All 4 are still outliers in their own field and upstanding creative forces to boot. I feel blessed to have been able to capture them on this project.

Threads was made in a bedroom of 2a Station Rise in Tulse Hill, a flat I shared with journalist and writer Laurent Fintoni, in a space that had such a great sound to it that I’ll always miss that room. I hope that you feel the warmth that I felt then whilst making it. It’s been an adventure since and whilst I’ve moved on from a lot of the tropes intrinsic to the album, it will always remain a body of work that is dear to my heart.


Enjoy!
<3

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

PWL, gegründet von Pete Waterman, ist ein legendäres und einflussreiches britisches Plattenlabel, das die Musikindustrie nachhaltig geprägt hat. PWL ist bekannt für seine entscheidende Rolle bei der Gestaltung der Popmusiklandschaft der 1980er und 1990er Jahre und war Wegbereiter für einen unverwechselbaren Sound, der sich durch eingängige Melodien, lebendige Synthies und ansteckende Beats auszeichnete. Das Label katapultierte nicht nur zahlreiche Künstler wie Kylie Minogue, Jason Donovan und Rick Astley in die Weltspitze, sondern führte auch eine neue Welle von tanzbarem Pop ein, die weltweit Anklang fand.

PWL Extended ist eine Sammlung von 12"- und Extended-Mixes, die die Tiefe und Breite des PW-Outputs perfekt widerspiegelt. Sie enthält große Welthits wie "I Should Be So Lucky" und "Never Gonna Give You Up", neben tieferen Stücken, schwer zu findenden und neu
erschienenen Mixen von Künstlern wie Princess, Blow Monkeys und Paul Varney.

The Dam Swindle curated compilation Heist Classics Vol. 02 delivers even more of the label’s biggest hits in a beautiful limited-edition package.

It’s safe to say that in it’s 10 years of existence, Heist Recordings has given us plenty of amazing music and has cemented itself as one of the key labels in today’s house scene. The first 3 compilations of this year have had an amazing response with radio and club tastemakers (re)discovering some of the best music that has come out on Heist. With support from Paul Woolford, Luke Slater, Antal, James Zabiela, Nightmares on Wax, a 10/10 in Faze Mag and various radio plays on BBC R1 with Pete Tong, Annie Mac and more, it’s safe to say that everyone has been loving these releases. Now, Dam Swindle conclude their 10-year anniversary releases with Classics vol. 2: a limited-edition collection with hits from Crackazat, Andy Hart, Kassian, Makèz and Nachtbraker.

The release kicks off with ‘Alfa’: Crackazat’s biggest hit to date (and that’s saying something, coming from a producer that has delivered jam upon jam in his career). It’s a signature Crackazat song with an off-kilter live key loop, shuffling percussion and pumping low end.
Andy Hart’s ‘Epsilon Girls’ was originally released in 2014 and has helped cement the artist and label’s position in the house music landscape. A vintage Barbara St. Clair loop gives the track a lovely human touch, which is countered by layers upon layers of glimmering electronics.

Different Planets is the track that really kickstarted the career of the talented duo Makèz. Released in 2019, the track has everything we’ve come to love from their recognizable sound: lively drums, catchy hooks and warm & jazzy chords. UK duo Kassian are represented on this package with their track ‘8th Movement’. Their sound has progressed towards techno in recent years which has given them support from artists across the board such as Ben UFO, Special Request and many more. Their Heist classic ‘8th Movement’ - still housey in its core - already has hints of their newfound style in its sound design and rolling energy.

We end the record with what might be Nachtbraker’s biggest track of his career: ‘Hamdi’. You’ll find him currently at work with artists such as Shanti Celeste where he recently released his Capichone EP, but the sound he developed in the early part of his career had Heist written all over it. ‘Hamdi’ is a proper anthem, with African drums, an ecstatic vocal sample and a killer groove.

The vinyl release of Heist Classics Vol. 02 is printed on colored 180grams heavyweight vinyl and is limited to 1000 records with a special design by our Art Director Bas Koopmans (Wellness.)

Enjoy the music and play it loud!

Lars & Maarten

Hailing from Mexico City, Louie Fesco is as cool as his name states, he is never lame. Louie can make a Tiesto t-shirt cool, just by cutting off the sleeves and wearing it. Mr. Cool has graced many top labels over the last decade and made these labels even cooler, his outing on CV

Could be one of his best and coolest, #truestorybro.

On this crispy 12 inch he delivers a masterclass on party rocking grooves, proper basslines and drummy hooks (not to be confused with dummy hookers).

So to speak- a perfect weapon in your vinyl arsenal (not “Vinyl Arsenal” the amateur football team made up of various aging UK Djs).

On the remix duty, we get some heavy hitters from the ever mysterious Gathaspar. We heard he gets his inspiration from tiny elves that are only found in Munich catacombs. When asked about these tiny elves on Instagram, he leaves you on “seen”. His OP vinyl series are instant hits and collectors items among bearded vinyl nerds, and people who use a lot of bedroom hand lotion. These remixes are monsters- I know, I tested them myself in raves to people and they responded by dancing.

In short, if you are a Dj who likes nasty records to rock parties, this is a must, and if you’re a creepy Discogs shark, this is sure to go up in value.

Why do we even write these write ups?
I’m not sure, and if you are still reading this instead of listening to the 12 inch, I don’t know what else to say to you.
I guess I’ll give you the “ your good enough, your smart enough, and god darn it- people like you” words to get you thru the day.



Sincerely, Jay-the writeup guy.

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

Repress!

Following a pair of double-vinyl gatefold collections featuring label owner Nina Kraviz, Exos, Population One, Deniro and Steve Stoll, 's first single comes from the label's rising star Bjarki. A-side 'I Wanna Go Bang' has long been an in demand record in Kraviz's sets, with the Dance Mania influenced techno cut sitting alongside his contributions to TRP001 & 002 as a calling card for this exciting new talent, while B-side 'Orange Juice Man' taps into Bjarki's more melodic side.

'This is the first 12-inch single on - one banger and one dreamy groover on the other side, that shows the different sounds of Bjarki. He is one of those artists that can make club bangers and also compose music for movies. But no matter what this brilliant Icelander does it always has this sexy groove going on.

'As always we asked Tombo to visualise our trip. The idea was based on one famous phrase from Arthur Russell's famous song 'Go Bang': I wanna see all my friends at once / I'll do anything to get the chance to go bang

'He came up with 2 beautiful whales and some really psychedelic drawings: 'Arthur and intergalactic whales'. Why Arthur Russell Well the connection is all in the name of the DJ Deeon's vocal from the track that Bjarki sampled in this record, originally released on Dance Mania - it says 'Sometimes I feel like I wanna go bang'. This phrase reminded us of Arthur Russell's song.'

Continuing where Oddkut and Abstrakt Sonance’s FKOFv007 left off, our 8th record is a collaborative affair – three artists, four tunes and a whole lot of weight. 11th Hour is one of our long-standing collaborators, having appeared on our second ever EP back in 2013, and Substrada is quickly following in Jason’s footsteps with his latest outing with us. And, as you’d suspect, we’re delighted to welcome Charles back after his epic (collab) FKOFd046 in 2020. Last, but definitely not least, we welcome Kusmo to the FKOF family – an artist we’ve super excited about.

“FKOFv008’s been doing the rounds for most of 2022, with two solo outings for Substrada and two collaborative efforts. We’ve had some epic DJ support from the likes of Mala, but it’s hard to choose a favourite from across this record. ‘Coolin’ With The Gang’ is signature Substrada; all spooky atmospheres, suffocating sub pressure and a few vocal samples that have upset a few radio stations over the last 12 months. It’s a banger. The second A- side is the meditative ‘Predator Flow’ – eyes down power and our favourite beats, bass and space recipe. Watch for this one! The third inclusion, the Kusmo collab entitled ‘Wump’, does what you’d expect. It is, as it proudly exclaims, “the shit”. We’re excited to see where these two take their efforts (separately and together)! The record closes with the absolute scenes ‘Colossus’ has inspired across the dance floors this year, with Substrada and 11th Hour joining forces to create one of our tunes of the year. It is relentless.

“FKOF Records celebrates its tenth birthday in 2023 and we’ve got some epic physical releases coming to celebrate our decade of 140bpm. Substrada’s FKOFv008 gives you some idea of what we’ve got coming, and we hope you enjoy these four tunes (from three of our favourite producers!) as we close out 2022. Thank you for all your support this year, and we’ll see you on the flipside.